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More Women in the Art World: Karen J. Revis

January 17, 2018 - Or Does it Explode

THE LIST: Suzy Spence at Sears-Peyton

January 11, 2018 - David Cohen

Luxuriance is more than a painterly quality in the work of Suzy Spence. It is a symbolic form. Bravura paint handling conveys the very sense of sport that is her motif in images of the hunt. Riders throw themselves with panache into the chase without attendant loss of elegance or control. Their very sweat is decorous in an almost heraldic balance of vitality and poise. There is a corresponding dialectic in Spence’s attitude towards her subject matter. Her catalogue essayist, Amy Rahn, deftly describes the feminist and class critique at the heart of her gender-bending approach while equally acknowledging her personal investment in riding, her participation in the culture that she observes. “The way these paintings slip—between genre and critique of genre, between a love of the sartorial poses of foxhunting and a critique of their masculine power, and between portraiture and figurative painting—give us a glimpse of something dark and rich that hammers the ground between critical thought and sensuous painting.” The full throttle romance of “the drag” (the term for hunting with a substitute fox segues sexily into the fey innocence of Spence’s idealized sorority of latter-day Artemises) speaks to an artist who hunts with the hounds and runs with the hares. DAVID COHEN

Rick Shaefer: The Refugee Today

September 28, 2017 - Haggerty Museum of Art

The Refugee Trilogy is a suite of large-scale charcoal drawings by Connecticut-based artist Rick Shaefer. The works employ the visual language of Baroque painting to express–in a language both familiar and historical–the plight of contemporary refugees, and the persistence of this epic human tragedy across time. The three triptychs, each measuring 96" x 165", are exhibited in a chronology suggested by news reports. Land Crossing, the first of the three, addresses the hazardous journeys faced by refugees fleeing war, famine, drought, or other causes. The second work, Water Crossing, portrays the perilous journeys across open water. The third work, Border Crossing, addresses the conflicts and hostilities faced at borders. In addition to the three triptychs, the exhibition includes seventeen preparatory drawings. In an interpretive space adjacent to the exhibition, visitors may watch short video interviews with Marquette University faculty members–from areas ranging from law to nursing to history–who work on the subject of refugees. Rick Shaefer: The Refugee Trilogy was organized by the Fairfield University Art Museum

Maysey Craddock 'Riverine'

September 14, 2017 - Wall Street International

Maysey Craddock's 'Riverine’ at Sears Peyton Gallery, New York

August 17, 2017 - Blouin ArtInfo

Sears Peyton Gallery will be hosting Maysey Craddock’s “Riverine,” a solo exhibition by Maysey Craddock at the gallery’s venue at New York. This will be the artist’s fourth solo exhibition in New York.

While the politicians debate over border issues and discuss the vices and virtues of securing the national borders, Craddock focuses on the fragility of the natural boundaries present around us. The works in this exhibition explore the natural boundaries such as the wild natural shores that divide the land and the sea, the rivers, deltas, the coastlines that are continuously shaped and reshaped by the sea, storm, and mankind. In each of her works, she traces trees, ragged alluvial trailings with delicate strokes on pieced paper surfaces that are stitched together with silk threads. Craddock portrays these natural borders as radically provisional and delicate spaces that are alive with continuous adaptation and regeneration. According to the artist, men perceive land as solid and immutable with heavy and dense edges and borders. However, what they fail to realize is that it changes drastically, especially the coastlines that are vulnerable to change. Craddock’s creative processes rhyme with the idea of making and unmaking her work. She takes photographs of the riverbanks and shorelines before fracturing the photos into abstracted motifs that she adopts into her paintings. 

Wall. Flower.

June 29, 2017 - Make Magazine UK

‘I have always been fascinated by colour. I need it around me and on me’.

Patricia Iglesias. Artist. New York City.

‘There were several things that motivated this last body of work, but two of them were the death of a close friend and the other was the birth of a baby. Flowers were something that both these events shared.

In these important rituals of life like weddings, funerals and celebrations, flowers are ever present, announcing beginnings and endings, so they became a good starting point for my work.  Flowers have been used in decoration from textiles to wallpapers and silverware and are often associated with the idea of making things more beautiful. In my opinion, flowers are also used as a way of concealing, hiding the ugliness and the pain and the rotten.

Visualizations of Contemporary Paranoia: Shelley Reed’s A Curious Nature

June 8, 2017 - Candice Bancheri

Paranoia has a way of creeping up the spine and burrowing into the brain. Like a tick in the woods waiting for the right moment to latch onto its next host, it feeds—gorging itself on suspicions of falsehoods, naivety, and manipulated truths.

Digesting Shelley Reed’s paintings felt a lot like discovering that tick on the back of your leg hours after a jaunt through the woods. With the utmost conviction, the tick quietly clung to its chosen host, fastened itself within the layers of fleshy epidermis, and fed until its swollen body pulsed with excess. Fortunately, Reed’s paintings do not carry Lyme disease or Rocky Mountain spotted fever. However, they infect the viewer with something much more revealing of its source and equally uncomfortable to contract. Contextualized by the looming crescendo of the information age, Reed’s exhibited work at the Fitchburg Art Museum begged the question: are curiosity and paranoia two sides of the same coin?

The Photographer's Story: The Old Jersey Shore

June 8, 2017 - The Lonely Planet Traveller

I’ve spent the last two years documenting the Mid-century Modern motels of the Wildwoods, a group of shore towns on a five-mile island in southern New Jersey. Built in the ’50s and ’60s and virtually unchanged, they form the largest concentration of postwar resort architecture in the US. As a native of the Jersey Shore, I’ve always been interested in the coast’s history and buildings, and when I happened upon the Wildwoods one winter, I felt like I’d travelled back in time.

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Artsy features Celia Gerard's show, "ASCENT / DESCENT"

April 28, 2017 - Charles M. Schultz

The shape of Celia Gerard’s studio is akin to an isosceles triangle whose apex has been leveled. It is a slightly irregular shape, but with a door on one end, a window at the other and a set of walls connecting base to foregone-tip, its geometric irregularity recedes beneath the structural logic of a building within which this little polygon fits neatly. When I imagine an image generated by changes in the layout of this building—small studios merging; larger ones being subdivided—I see fluctuating spatial relationships defined within a set of unchanging parameters. Older forms become ghosted beneath newly constructed arrangements that arise as they are needed. There is a natural order that underlies this apparent chaos; the question is how does one find that natural order? How does a person cultivate the ability to see the logical operations that give shade and shape to what may otherwise appear tangled and arbitrary?

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